Into the Arms of Strangers: Stories of the Kindertransport Page #11

Synopsis: For nine months prior to World War II, in an act of mercy unequalled anywhere else before the war, Britain conducted an extraordinary rescue mission, opening its doors to over 10,000 Jewish and other children from Germany, Austria, and Czechoslovakia. These children, or Kinder (sing. Kind), as they came to be known, were taken into foster homes and hostels in Britain, expecting eventually to be reunited with their parents. The majority of them never saw their families again.
Production: Warner Bros. Pictures
  Won 1 Oscar. Another 6 wins & 6 nominations.
 
IMDB:
7.8
Metacritic:
79
Rotten Tomatoes:
91%
PG
Year:
2000
122 min
366 Views


... and of love.

I suddenly felt it and fought it.

But I felt, you know, I knew it was them.

We met.

Kurt's father, who was more

demonstrative than the mother...

...put his hand through Kurt's curls...

...and Kurt went like that,

and gave him a wallop.

And my husband says,

"Don't you ever do that again, Kurt.

"Your father is showing you his affection."

And that was that.

When it came to say

good-bye to the Cohens...

...I realized for the first time,

I think, consciously that...

...they had loved me, especially Percy...

...because he was in tears,

and I'd never seen him cry...

...Id never seen him cry before.

Then we had to leave him.

I remember him looking back.

It was very, very sad.

He didn't want to go.

He didn't know them.

My parents let go of a 7-year-old

and got back a 16-year-old.

And my mother, especially...

... wanted to carry on where she'd left off.

And a 16-year-old doesn't like

to be treated like a 7-year-old.

So, when we got back to France,

things were very difficult.

Of course, I'm very lucky. I realize this.

Where as most of the Kinder

never saw their parents again.

I not only had mine back,

but another set of parents as well.

What more could one ask for?

I ceased to be a child when

I boarded the train in Prague.

It's strange that it's only

six years out of a long life...

...and those six years will

affect the rest of your life.

I never belonged when I was a child.

I wanted somewhere to find roots.

I feel in, the latter years of

my life, that I've been accepted.

And nobody's ever said to me:

"You weren't born in this country."

I was as entirely accepted

as everyone else.

And I gradually felt...

... I had somewhere I belonged.

To be a refugee

is the most horrible feeling...

... because you lose your family,

you lose your home...

... you're also without an identity.

Suddenly, you're a nothing.

You are just reliant on other people's...

... good nature, and

help, and understanding.

That's why, I think, living in Israel...

...I feel for the new immigrants. I feel

for the Russians, and the Ethiopians...

...and anybody who's new,

especially if they come without families.

If I can do anything, I do it.

I am dazzled,

from the point of view of a writer.

Who else has

the unbelievably good fortune...

... to live with the Jewish manufacturer...

... the English

working-class union man...

... railroad stoker, the milkman...

... and the Anglo-Indian

Victorian ladies?

Whoever has the sheer...

...but being a helpless member

from the inside of these families?

Seems to me it was a gift.

Didn't seem so at the time.

I now look at my 14-year-old grandson...

... and I think, "This is the age when I lost...

"...parents, home, country."

A lot has been made up to

me from where I lost out.

I have a second cousin here.

He says:
"Anything you haven't had,

you've got now." Which is so true.

And I'm very grateful

and very proud of the whole family.

The younger you were, the more

unforgiving you are of your parents.

You may say they were

so brave and saved you...

... but they really abandoned you.

We were four friends, very close friends.

We all agreed:

"If it ever happens again,

we will not send away our children.

"We will stay and die together."

That's what we said.

Later on, as we grew older,

we said we mitigated it, we said:

"If it ever happens, we promise

to take each other's children in.

"We will not send them to strangers."

I certainly do my

share of remembering...

... but remembering also has to have

a present and future perspective.

You can't just stop at remembering.

I don't think I ever made

a conscious decision...

... to devote myself to human rights...

... and social justice issues.

Someone helped me.

I can't pay back or thank

some of the people who helped me...

... but I can do something for other people.

I've come to a conclusion about myself:

In 1938, I escaped

the deportation of Poland.

I got out of Germany

in the Kindertransport.

I was sent to Australia on a ship.

The ship was torpedoed

and nothing happened.

I got back to England and was in the army.

Why all these coincidences?

I've come to one conclusion:

I was meant to survive.

Not because of myself...

...but because the Jews were to survive.

And I would bring up another generation.

And they would live. I look at my

children and my grandchildren...

...and I know that there was

a purpose to my life.

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Mark Jonathan Harris

Mark Jonathan Harris (born 1941) is an American documentary filmmaker probably best known for his films Into the Arms of Strangers: Stories of the Kindertransport (2000) and The Long Way Home (1997). He has directed three documentaries which have gone on to win Oscars, across three different decades. Educated at Harvard, Harris co-produced the short The Redwoods for the Sierra Club with Trevor Greenwood; the short won the 1967 Academy Award for Documentary Short Subject. The aforementioned Into The Arms and Long Way Home also landed Academy Awards. Harris started out as a crime reporter for the Chicago City News Bureau, and reports that on his first story he went into a police station and had his car stolen from in front of it. The police called him a few weeks later to ask if he had found his car. Harris tried investigative journalism next but quit after realizing he did not like to embarrass people. Harris believes that filmmakers can construct a cinema verite film beforehand by considering repeatable events—that is, by determining which events are likely to recur frequently, and being there to film those events when they do. He tested this theory on a film on the Peace Corps in Colombia, in a small village 50 miles outside Bogotá. The film was not especially positive about the Peace Corps experience; the Peace Corps decided not to use it for recruiting, but to use it for training people who have been in for about a year. Harris has also directed a film on migrant farmworkers and their dismal wages and living conditions;one of the "stars" of his documentary was Luis Valdez, who went on to direct the film La Bamba. Harris' film The Long Way Home deals with the experience of Jewish refugees after World War II. Spike Lee condemned the second half of the film as propaganda for the state of Israel; nonetheless the film won an Oscar in 1997 for Best Documentary. Harris next directed a film less complimentary towards the state, which had been commissioned specifically for the 50th anniversary of Israel. Harris intended the film, A Dream No More, to reflect Israel, "warts and all"; he spent 15 months and nearly $1.5 million U.S. making the film, which went over deadline as he tried to determine final structure for the film. He turned in a final print and had the film flagged the next day; it was never shown. Harris considers this film the second of his "Jewish trilogy". Into the Arms of Strangers: Stories of the Kindertransport, the third part of the trilogy, tells the stories of several people whose parents sent them on the kindertransport to escape the Germans, as well as one woman who was meant to go and did not because her father pulled her off the train. The film won the 2000 Academy Award for Documentary Feature. In 2003, Harris wrote Unchained Memories: Readings from the Slave Narratives. He was nominated for outstanding writing for non-fiction writing for this documentary. As a documentary filmmaker, Harris casts his films carefully, talking to people beforehand and deciding who has an interesting story and who tells it well on camera. He also refuses to start filming immediately, but prefers to talk with the subjects for about an hour beforehand. He is currently the producer of a documentary called "With One Hand Tied", which is based on the book "Black Warriors: The Buffalo Soldiers of World War II".Harris is also the author of various children's books, a side career he stumbled into the mid-1980s: he returned to journalism because he could not find funding for a documentary he wanted to make. After writing an article about a young child, he was contacted by an agent who asked him to write children's literature and has since written several children's books. Harris is currently a professor at the School of Cinematic Arts of the University of Southern California. more…

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Submitted on August 05, 2018

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